The unknown girl, with Adèle Haenel, a good raw dardenne (critic)

The film of the Dardenne brothers returns to Arte.

Presented in official selection at the 69th Cannes Film Festival in 2016, The unknown girl de Jean-Pierre and Luc Dardenne will be rebroadcast on Arte on Wednesday, and Visible in replay in stride. Here is the criticism of First ::

Rewarded at each of them in Cannes, the brothers Dardenne are part of the closed circle of “bipalmed” filmmakers -For Rosetta And The child. Is the three pass possible? We cannot obviously say anything but The unknown girl does not seem to be able to achieve it. Not that the film is minor, far from it, but this year, the competition is particularly lively, in particular with regard to the themes and figures of Dardennian cinema. On the ground of pure emotion, Toni Erdmann has no equivalent for the moment. On that of social and immersion, American Honey And My ‘rosa appear as serious alternative proposals. As for the portraits of women, the house specialty, the selection is full of it: the admirable retireeAquariusthe poignant Julietathe working girl of Toni Erdmannall compete in complexity and magnitude, while waiting for the heroines of Just the end of the world,, The Neon Demon Or She.

Adèle Haenel: “When you think author film, you think Dardenne”

Biblical simplicity
Jenny Davin exercises his profession as a general practitioner in a disadvantaged district of the suburbs of Liège. Rigorous and honest, she sees her daily life upset by the violent death of a young woman to whom she did not open her door, an evening of fatigue. The young woman doctor will then stop knowing who was the victim. The subject is magnificent: it is a question of guilt (another major Cannes theme, this year), of the way it is exorcised and which it is transmitted by clumsiness or by accident. During her investigation, Jenny will drop, then grow up, transforming those whom she crossed the road. It is a mystical trajectory, not to say Christic, that The unknown girlsweet and brutal film at the same time, simple and complex, new mysterious dive in the female psyche that the Dardenne explore with their usual know-how. It is this “job” that seems to be criticized for them if we rely on the first Cannes returns. Their vision seems, however, less Manichean and richer than that of a Ken Loach, for example. One last word on Adèle Haenel : the actress of Fighters Admirably composes this Jenny, overwhelmed but determined, worthy heiress of the Rosetta, Lorna and other Sandra.

Christophe Narbonne

Sentenced in the Adèle Haenel case, Christophe Ruggia appeals